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| intermediaries between the spirit world and humans |
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| Tuvan relationship to nature |
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| Aesthetically informed imitation of sounds in nature. |
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| The belief that natural objects and phenomena have souls or are inhabited by spirits |
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| general term for “throat singing” |
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| ”to whistle”; middle register drone with a great deal of tension in the voice; the harmonics sound very much like a whistle |
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| ”To wheeze”; drone is located very low in register; harmonics are clearly derived from vowel shapes in mouth. It resembles a Tibetan Buddhist chant→it has two times as many tones as normal singing |
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| ”Rolling”; characterized by a pulsating rhythm that imitates rushing water or galloping horses→mixes styles of the other genres, and can be described as “shimmering” |
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| End-blown Tuvan flute made from reed or wood (3 holes) |
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| 2-stringed upright fiddle with horsehair strings (horsehead fiddle) |
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| Frame drum played by shamans. |
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| the type of person who lives in Tuva, a place in the south of Siberia in Russia. Tuva is next to Mongolia. |
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| A Turkic speaking people from the Ural Mountains. That sing Uzliau |
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| Indian Music, referring to South Indian Music Style, more based on compisition sets |
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| Most Important, string instrument in karnatic music |
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| Common drum, double headed, Karnatic music |
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| Indian Music, referring to North Indian Music Style, more improvised, influenced by Islamic belief and law (13th century and onward) |
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| plucked fretted String Instrument, long neck (hindustani) |
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| fretless string instrument (hindustani) |
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| Common drums, paired drums that have individual heads (hindustani) |
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| Indian bamboo flute (both Hindustani and Karnatic) |
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| Saint, a composer, devoted to Rama, in the Trinity of Karnatic Music. |
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| Court Musician who needed to illustrate his professionalism in order to escape charges of emotive and sensual musical performance within the Islamic context of the Mughal empire. |
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| A school of professional musicians who originally traced their heritage to a family tradition but which now includes non biological descendants as well (Hindustani). |
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| A scale, and it is associated musical characteristics such as the number of pitches it contains, its manner of ascending and descending, its predominant pitch, and so forth. |
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| Pitches, that relate to each other through a series of rules in a Raga. |
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| Crooked, when a Raga starts in one direction, reverses course, and then continues in the original direction. |
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| a solfege system, helps to organize and learn ragas, also serves in performance, helping artists to improvise (called svarakalpana) |
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| Improvised singing of pitches using their names in Karnatak Music |
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| Initial phrase of a khyal of gat used as a cadence for improvisational passages in Hindustani Music. |
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| The beginning of a phrase in Karnatak Music used as a cadence for improvizations. |
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| There are 5 of them, ____s are the families of karnatic rhythms. |
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| Rhythmic syllable in Hindustani Music. |
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| The rhythmic eqivalent of sargam (solfege system), works by combining syllables that require very little movement of the lips, but are easily distinguishable from one another into patterns that are distinctive for each jati. |
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| A Hindu devotional song, expressing bhakti (devotional love), usually not virtuosic, sometimes a few performers, but more often than not a larger group of performers. |
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| The major song type of Karnatak music. Performed in a virtuosic manner. Fewer participants, emphasis on displays of skill and technique. Performer more likely to play in concerts as opposed to just ritual events. |
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| Raga improvisation in free rhythm. |
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| The opening section of a Karnatak song form (clear articulation of the eduppu). |
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| Second section of Kriti or other Karnatak song form (Introduction of the new melodic/rhythmic theme). |
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| Last of 3 sections in Karnatak kriti or other song form. |
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| The section of Hindustani instrumental performance which follows alap and introduces a pulse (no percussion but metered) |
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| The concludint section of instrumental improvisation following jor in Hindustani music during which the performer makes lively and fast rhythmic patterns on the drone strings of an instrument. |
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| The section of Hindustani instrumental performance which follows alap and introduces a pulse (no percussion but metered) |
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| The concluding section of instrumental improvisation following jor in Hindustani music during which the performer makes lively and fast rhythmic patterns on the drone strings of an instrument. |
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| The section of Hindustani instrumental performance, accompanied by tabla, in which a tune, the ____ is alternated with improvisational passages, tora. |
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| A severe classical song and instrumental form of Hindustani music. |
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| The major vocal style of Hindustani music. |
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| A form of poetry associated with Perso-Arabic Muslim culture enthusiastically taken up by Urdu speakers in North India and Pakistan where it is often sung. |
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| “Folklike” music, often referring to ethnic popular music in ethnic communities from Central Europe. |
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| Jewish instrumental ensembles that performed, often professionally, for both Jewish and non-Jewish social functions. |
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| Circumpolar peoples, living in northern Norway, Sweden, Finland, and Russia. |
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| One of the largest groups of Gypsy communities in Europe. |
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| German tearm for “folk song.” |
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| Folk-music ensemble in the Balkan countries of southeastern Europe. |
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| Bowed stringed instrument of the Balkans, used to accompany epic singing. Also used in North American ethnic communities from the Balkans to accompany epics. |
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| Instrumentalist and musical specialist in southeastern Europe, often distinguished by great mobility. |
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| A European music competition characterized by crazy performances and stylistic takes on all types of music. European countries compete to win. |
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| Credited with developing the idea of folk as the basis and root authenticity of the nation. |
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| A Shona religious ceremony involving spirit possession. |
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| A 22 key shona lamellaphone, originally associated with the Zezuru Shona of central Zimbabwe. |
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| ”To lead the piece”; the second accompanying part played by a second Shona mbira player. |
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| A bent stick with a single string which is struck with another stick or plucked; a gourd resonator is attached to the bow or, on a second type, the mouth cavity serves as resonator. |
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| Interlocking pitches between 2 or more sound sources to create a single melody or part. |
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| Professional Mande musician and verbal artist (Mali) |
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| A 21 string bridge harp played by Mande jalolu (associated with jali’s). |
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| (Yoruba, Nigeria)→Hourglass-shaped “talking drum” of the Yoruba of Nigeria. |
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| (Ghana)→A form of urban-popular dance-band music in Ghana; also played in Nigeria and elsewhere in west Africa. Liberian roots. |
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| (Ghana)→hybrid style of highlife developed in the 1920’s that was named for the taverns in which the music was played. |
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| (Nigeria)→grew out of palmwine, T.K. coined the term _____ music in the 1930’s, early style was a trio, no brass (the major difference between juju and highlife), talking drum and other hybrid drums→electric guitar incorporated in the 50’s, and 16-20 players since then. |
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| (Zimbabwe)→1970’s, born out of liberation struggles, highly political, uses mbira. |
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| Old style Hungarian folk music |
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| New style hungarian music |
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| Loot like instrument (Europe) |
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| Roman vernacular for safartic Jews |
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| an expressive vocal phrase or passage consisting of several notes sung to one syllable |
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| The leading melodic inctrument in the Peking Opera theater. It is a 2 stringed bamboom spike fiddle with a very high and piercing range and timbre. |
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| a Chinese seven-stringed zither. It is the mpost revered instrument and was patronized by members of the educated class. |
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| abbreviated character tablature for quin |
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| A pear-shaped, four stringed plucked lute with a short bent neck and many frets. |
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| 2 stringed Chinese spike fiddle with hollow wooden cylindrical sound box |
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| A chinese free reed mouth organ |
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| A Chinese dulcimer struck with a pair of bamboo sticks |
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